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Busana secara simbolik merupakan bentuk komunikasi nonverbal yang dapat mengikat suatu komunitas. Pemuda hijrah dalam komunitas Shift di Y outube berusaha menyajikan keberagaman busana dan citra simbolis dalam video-video dakwah yang menampilkan Ustaz Hanan Attaki. Penelitian ini bertujuan untuk mengetahui bagaimana representasi busana muslim yang ditampilkan oleh Pemuda Hijrah di Channel Youtube Shift Media dalam rangka menarik perhatian generasi milenial. Metode penelitian yang digunakan adalah studi etnografi virtual, dengan pendekatan kualitatif yang bersifat deskriptif dan menggunakan teori interaksi simbolik. Hasil penelitian menunjukkan representasi busana muslim yang ditampilkan dalam video komunikasi dakwah Pemuda Hijrah di Channel Youtube Shift Media bertujuan untuk melakukan pembauran dengan jamaah anak muda. Dengan menentukan segmentasi khalayak, kreator Channel Youtube Shift Media mencoba untuk menggeser busana muslim menjadi busana kasual yang lebih dekat dengan milenial saat mendatangi kegiatan kajian dakwah. Proses kontruksi makna denotatif busana muslim ditandai oleh Ustaz Hanan Attaki yang kerap tampil dengan menggunakan kemeja, kaos atau sweater dan penutup kepala model reggae (topi kupluk). Symbolically, clothing is a form of nonverbal communication that can bind a community. Pemuda Hijrah in the Shift community on Youtube tries to present various clothing and symbolic images in da'wah videos featuring Ustaz Hanan Attaki. This study aims to find out how Pemuda Hijrah displays the representation of Muslim clothing on the Shift Media Youtube Channel to attract the attention of millennial generation. The research method used is a virtual ethnographic study, with a qualitative descriptive approach and using symbolic interaction theory. The results of the study show that the representation of Muslim clothing displayed in the communication video of Pemuda Hijrah propaganda on the Shift Media Youtube Channel aims to mingle with young congregations. By determining the segmentation of the audience, the creators of Channel Youtube Shift Media are trying to Shift Muslim clothing into casual clothing that is more suited to millennials when they come to da’wah activities. The process of constructing the denotative meaning of Muslim clothing was marked by Ustaz Hanan Attaki, who often appeared wearing a shirt, t-shirt or sweater and a reggae-style head covering.

The given work is devoted to the problem of preserving and understanding traditional cultureís meaningfulness for the value system of modern man. The key symbols-patterns of the Altai traditional mythology, personified patterns of fire and water are presented in the article. These are shown in a female appearance. The peculiarities and the main aspects of the mythological presentations about the ties of the earthy universe and heavenly universe and contiguity of these two worlds in every day life of a man are shown. The role of fire and water is considered as mediators between the world of people and the world of spirits. The central theme of the Altaiansí traditional notions, that is worship of the natural universum, the maternal origin and the life as absolute sacral value is designated. [ABSTRACT FROM AUTHOR]

People around the world have shaped societies and urban spaces around water for millennia. They have transformed natural water structures and patterns to serve their diverse needs. The ways in which historical decisions affect contemporary water systems and influence future planning of urban systems still need to be fully recognized. This paper explores the multiple roles of water systems in Chang'an during the Western Han Dynasty. Chang'an, one of the ancient names for the city of Xi'an, was a typical capital city of China and East Asia in early ancient times. This study explores everyday practices pertaining to water as well as its role in defense, gardening, politics and culture. Drawing upon three historical theories, this study presents findings that water was embedded in the design of traditional Chinese capitals. The siting and construction of capital cities was first based on the Theory of Choosing the Center (3rd century BCE) and the Theory of Conforming to Nature (5th–3rd century BCE). However, the final maturation of this urban morphology, including the water system, was closely related to the Theory of Symbolizing and Modeling Heaven and Earth (4th–3rd century BCE), in a way that manifested the imperial power's organization and control of space and time. Through close analysis of historical documents, archaeological reports and modern investigations, the paper aims to clarify, analyze and summarize the historical context and evolution, functional and structural characteristics, as well as the economic, political, cultural and military connotations of water systems in Chang'an. It argues that the coordination of urban construction and the water environment was a key foundation for capital city development. It proposes that people shaped urban water supply in many ways, including daily life, waterway transportation, agricultural irrigation, aquaculture promotion, military defense and fire prevention. The water system in Chang'an also provided an important place for royalty and nobility to go fishing, to hunt and to engage in leisure and naval training. The landscape with this water system as the core, including Taiye Lake and Kunming Lake , had also inspired Chinese gardening history, and had a profound impact on future generations. More importantly, the capital's urban morphology design was a miniature of the world recognized by the monarch, as well as the symbolic image of the supreme rulers' political and cultural desire to control and possess Tianxia, which essentially means the whole world. In conclusion, the paper calls for a closer study of water-based design as a foundation for urban planning. [ABSTRACT FROM AUTHOR]

The purpose of the article is to investigate the multidimensional artwork of Andriy Bludov – a representative of Ukrainian visual art in the context of his appeal to traditional Western European symbolic trends and appeals to the Ukrainian cultural code, which is manifested in archetypal symbols. The research methodology consists of the complex application of analytical and comparative methods. Through the prism of aesthetic and philosophical analysis, to explore the manifestations of symbolic trends in the artwork of Andriy Bludov. Using the comparative method of research to trace the influence of Western European cultural tradition on the artwork of Ukrainian artist. Scientific novelty: for the first time a culturological analysis of the manifestation of symbolic tendencies in the work of Andriy Bludov was carried out on the example of his works in the art projects «Voices» and «Emblemata». Also, the specifics of the author's use of symbols and symbolic images in the context of contemporary Ukrainian visual art are studied. Conclusion. The article presents a detailed culturological analysis of the multidimensional creative activity of the famous Ukrainian symbolist artist Andriy Bludov – a representative of modern Ukrainian visual art, which organically combines painting with the techniques of silk-screen printing, lacing and collage. The artist works in various genres, giving his own works a range of traditional symbols and symbolic images that evoke in the viewer's own associative images to interpret the meanings in the depicted symbols. It was also analyzed that in the works of the series «Voices» Andriy Bludov, through the use of Ukrainian archetypal ethno-national images and symbols, highlights important themes of today – identity and national consciousness of the Ukrainian people. In addition, it is determined that the master, researching Baroque encyclopedias «Emblems», refers to the language of sacred ancient symbols of Western European art. He creates his own project «Emblemata» and interprets traditional symbols in the context of modern worldview in his own way, thus urging the viewer to attempt to decode symbolic mysterious images. Thus, it should be concluded that this study confirms the existence and dynamic development of symbolism in the context of contemporary Ukrainian visual art on the example of the world-famous Ukrainian symbolist artist Andriy Bludov. [ABSTRACT FROM AUTHOR]

Введение. Эпоха глобализации и расширения межкультурной коммуникации формирует новые вызовы и ставит их на разрешение ученым, осуществляющим свои изыскания в различных научных областях. Актуальной проблемой гуманитаристики является описание национальных картин мира посредством моделирования их фрагментов. В лингвистике особую значимость сегодня имеет изучение вербальных средств объективации концептуальных смыслов. В числе последних выделяются поэтические тексты. Их эстетическая направленность позволяет исследовать в качестве лингвокультурологических и когнитивных средств образы, присутствующие в этих текстах. Цель – исследовать роль образных символических средств в интерпретации фрагмента китайской картины мира, связанного с осмыслением образа бамбука в древних поэтических текстах. Материал и методы. Материалом исследования послужили поэтические тексты древних китайских авторов. В качестве единиц выступили языковые средства, воплощающие один из наиболее распространенных в китайской лингвокультуре образов ‒ образ бамбука. Основные методы исследования ‒ контекстологический и лексико-семантический. Результаты и обсуждение. Особенности биологического строения бамбука и разноаспектные возможности его применения в жизни носителей китайского языка определяют богатейший образный потенциал лексемы-номината. Включенность данной лексемы в широкий контекст значительно обогащает процесс смыслопорождения. Языковые средства, объективирующие толкование образа бамбука в китайской лингвокультуре, в текстовой перспективе получают возможность своей концептуальной интерпретации. Последняя развертывается на основании рассмотрения символических компонентов смысла, вписанных в национальную картину мира на уровне ее фрагментов. Направления символизации значения языковых единиц, номинирующих образ бамбука, выявляются путем рассмотрения речевой структуры древних поэтических текстов китайских авторов. Заключение. Ключевыми проявлениями символичного значения образа бамбука в китайской лингвокультуре можно назвать варианты интерпретации данного образа как символа высокой нравственности, чистоты, покоя, гармонии и умиротворенности. Такое символичное толкование не противоречит основным догмам китайской философии, в его основе лежит ассоциативная перекличка, возникающая в сознании носителей языка, как результат сопоставления свойств растения и характеристик человека.

Статья посвящена семантическому анализу и интерпретации «Романтической сонаты» b-moll, ор. 53, № 1 Н.К. Метнера. На базе монографий М.Г. Арановского и Л.Н. Шаймухаметовой (музыкальная семантика), трудов Е.Г. Гуренко, Л.П. Казанцевой (искусство интерпретации), работ Е.Б. Долинской, Д.В. Житомирского и др. (сонатное творчество Н.К. Метнера), представлена трактовка содержания, рассмотрены структурно-семантические особенности жанрового инварианта «Романтической сонаты». Аксиологический ракурс исследования выявляется на основе трудов М.М. Бахтина и высказываний Н.К. Метнера, изложенных в книгах «Муза и мода», «Повседневная работа пианиста и композитора». В статье впервые проведен анализ-интерпретация «Романтической сонаты» на пяти этапах семантики: программности, структурно-жанрового инварианта, композиции, тематизма, исполнительской интерпретации символических образов. Раскрыта специфика символической программности сонаты, обусловленная заглавиями частей и романтическими идеалами Н.К. Метнера. На основе семантического анализа-интерпретации автором статьи определена концепция сонаты - «Человек теургический», выраженная в образах-символах времени и вечности, хаоса и порядка, автора и героя. Изучена семантика композиции и тематизма Сонаты, которая позволила выявить специфику музыкального мышления Н.К. Метнера (поэмность, симфоничность, импровизационность и др.). Проанализированы особенности исполнительской интерпретации «Романтической сонаты», обусловленные влиянием стиля композиторов-романтиков и идеалами эпохи Серебряного века.

The article explores the philosophical and cultural analysis of art symbolism peculiarities of medieval culture in Western Europe. Special attention is paid to the symbiosis of barbarian and Christian images in the works of medieval Western European art becoming the leading feature of that time symbolic motives. It is also mentioned that the animalistic, mythological images come to the foreground displacing the human imagination for rather long period of time, the antique visualizing traditions of the latter being practically lost. Due to the leading meaning of the word itself in the culture of that time Western Europe, the art of designing the handwritten books becomes massively widespread. The article presents the analysis of Roman and gothic art symbolism, specifically gothic architecture, which provides the original peculiarity of understanding and perceiving the light as a demonstration of divine immense essence. The article also states that the deviation from the sacral principles of Byzantine art gradually leads to the displacement of symbolic type of image in favor of realistic one thus being the ground to form the art of Renaissance. [ABSTRACT FROM AUTHOR]

This study is to derive the type of recognition in relation to the symbolic image of local assets distributed in the city. The study aims to systematise local assets and integrate the dispersed areas in Busan to use as valuable data for decision making related to regional development, and to understand the result as a relation between symbolic image and the city’s local assets’ image. For this research, the scope of the study focused on city parks within Busan Metropolitan City, and the research time scope was divided into two diachronic frames according to the time of the park constructed. Finally, the contents of the survey are to utilise the recognition type of urban parks distributed in the region as data.

The article is dedicated to the issue of philosophy and culture analysis of visual image symbolism in Saint Augustine concept within the context of Christian Medieval culture. It is specified that magical and symbolic meaning of numbers after Pythagoras of Samos and Plato is seen by Augustine of Hippo as a pledge of inside and outside harmony and world order, but through the prism of Christian wisdom. According to Augustine of Hippo, symbolic and allegoric images are more appealing for the audience as they hold the mystery, lack the clear and obvious solution and urge the soul to look for the answer and cognition of divine truth. It is not by chance that Saint Augustine’s works get symbolic connotation of the divine light idea which is further widely and powerfully expressed in the works of Byzantine theorists of art. Apart from that, he specifies the definition of the sign, distinguishing its types and thus laying the grounds for the future semiotic and hermeneutic studies. [ABSTRACT FROM AUTHOR]

A discrete dynamical system generated by a homeomorphism of a compact manifold is considered. A sequence of periodic -trajectories converges in the mean as if, for any continuous function , the mean values on the period converge as . It is shown that converges in the mean if and only if there exists an invariant measure such that converges to . If a sequence converges in the mean and converges uniformly to a trajectory , then the trajectory is recurrent and its closure is a minimal strictly ergodic set. [ABSTRACT FROM AUTHOR]

One of the important research fields in literary research, which helps us better and more deeply understand the literary works is to investigate the links between art and literature and the exchanges that have existed between these two big branches of human sciences since ancient times, particularly the effect that art and its subcategories have had on literary evolution throughout history. One of such fields on which little research has been done is investigating the inspiring and enriching effect of performing arts in literature. One type of performing art that has a long history in the culture of Iran and Arab countries is the puppet show which has a dominant presence in Persian and Arabic literature, especially mystical literature, and mystics have benefited from it as a vehicle to explain their mystic thoughts. The current research has made an effort to fulfill the purpose of classic research on the relationship between art and literature and investigate one of the unique aspects in the mystical literature, that is the creative and artistic approach of Sufi masters to the art of puppet show and benefiting from that as a way to express the unspeakable and enigmatic perceptions of mysticism. Also, the present research has tried to clarify the historical roots of the use of the symbolic image of the puppet show in explaining ontological issues and disclose the evolution of this cryptic image in mystical literature. However, the period of this research is restricted from the 4th/10th to the 9th/15th century. The reason behind selecting this historical period is that this epoch is the period of the doom of the mystic thoughts and appearance of eminent mystics and the creation of mystical masterpieces in Arabic and Persian literature. But in later centuries, there is a little sign of previous mystics' Revelations and creation of past thinkers has descended to repeated and formulaic images. This raised this question in the authors' minds that why some mystics have taken hold of this performing art. Trying to find the answer to that question raised other questions in the authors' mind: why has the puppet show, especially the shadow play, become an opportunity for mystics to display their creative imagination? To explain which of their mystic thoughts did mystics use this performing art? What is the historical background of the symbolic image of the puppet show in ontological issues? Making an effort to reach a suitable response to such questions persuaded us to investigate the position of the symbolic image of the puppet show, especially the shadow play, in mystic thoughts in independent research and to figure out the reason for this intelligent selection by mystics. 2. Discussion and analysis The puppet show, which was more folkloric by almost fourth century AH, gradually entered the literary and mystic language and was suddenly welcomed by mystics due to their “aesthetic and artistic view of religion”. They found everything associated with spiritual experiences, and because of their spiritual needs and similarity between materialistic things and their supreme mystic experiences, they would make an effort to depict a part of the spiritual world in the form of the materialistic world. Therefore, they did not consider this performing art a means of entertainment. They had an artistic and mystic view of that and had made it an opportunity to display their imaginations by their artistic view and intelligent selection. In Conclusion, the main reason behind the selection of the puppet show by mystics was that such a show could be considered an appropriate tool that has depicted the thought system of Ibn Arabi and other mystics, whose thoughts were in line with him, in the form of an interwoven set of signs using a symbolic language. Because they sought a mystic purpose behind the puppet's movements and their relationship with the puppeteer who was hidden behind the screen and moved them with invisible strings or cast their shadows on the screen with light. They also considered that simple show with a symbolic image to be the best tool to explain their complicated mystic perceptions and thoughts from the world of mystic journey and tried to make hard-to-grasp mystic concepts as simple as possible for their audience and followers of mysticism by taking advantage of symbols and imagery. So, it is not surprising that despite its simplicity and informality, the puppet show entered mysticism, became known as one of the areas in which mystics could depict their creative thoughts, and was welcomed by mystics who sought supreme truths of the spiritual world through the simplest materialistic things and used everything to interpret their revelations. In General, based on mystics' quotes, we concluded that pantheism, the unity of divine acts, and explaining the position of heavenly spheres in controlling the world's affairs formed three functions of the symbolic image of the puppet show, especially the shadow play. Apparently, the statement of Ibn Hazm is the earliest in using the performing arts to express the impermanence of the world. Although the creation of past thinkers such as Ibn Hazm and Ghazali have benefited from this symbolic image, the boom in the usage of this symbolic image in Islamic mysticism dates back to Ibn Arabi who has most probably promoted the usage of this performing art among mystics. After him, many mystics have taken advantage of this image among which the symbolic image of Rumi in Persian literature and Ibn Fariz in Arabic literature seem to be the most imaginative and effective. [ABSTRACT FROM AUTHOR]

We consider a method of applied symbolic dynamics which may be used to obtain wide spectrum of characteristics of complex dynamical systems: approximation of invariant sets, estimation of topological entropy and approximation of invariant measures. The method has received wide acceptance in studying complex dynamical systems. The main idea of the method is to describe the system behaviour approximately by means of an oriented graph (called symbolic image). Such a graph is a representation of symbolic dynamical system which is more appropriately known as topological Markov chain. There exists a correspondence between trajectories of a given system and paths on the graph, which allows us to design algorithms for estimation of topological entropy, approximate invariant measures of a given system by using stationary flows on the graph and calculate corresponding metric entropies. These values characterize complex behaviour of dynamical systems such as the existence of trajectories with large periods and chaotic regimes. The results of experiments are given for systems with chaotic dynamics. [ABSTRACT FROM AUTHOR]

The paper considers a set of the totemic beliefs as archaic views spread among ancient Turkic peoples, in particular the Karachays and Balkars. We have studied ways and forms of pagan manifestation in the ethnic traditions, cultural consciousness and Balkar literature. In the course of the study, we have touched upon issues concerning the mythoepic tradition and symbolic generalizations. We have used folklore to trace the continuity of artistic thought-tide in understanding and interpreting symbols (tree, stone, etc.). We have also identified mythologems (mother goddess) through zoomorphic images (deer, she-wolf). One can still find mythology and folklore samples in other nations' literature presenting ancient legends of totem ancestors. They synthesized the rudimentary forms of religion. The characters of the stories were endowed with both zoomorphic and anthropomorphic traits. In addition to the traditional animal cult worshiped by the Turkic peoples there were the cult of ancestors, obeisance to the spirits of the dead. The ritual to distribute the meat portions of a sacrificial animal between members of the same clan also considered as a symbolic act. [ABSTRACT FROM AUTHOR]

The feminine imagery of the Book of Revelation has been the object of numerous studies. However, the connection between the Woman of Rv 12 and the City-Bride that closes the book is rarely highlighted. Through the plot of the story, the semantic and the intertextuality aspects show that it is a symbolic image (in two parts) that reveals the identity of the Church during the transition from the present situation of tribulation to salvific fulfillment, where the meaning of the divine project of history dwells. The text's interpretation made by the ecclesial subject consists of a process of identification through which the community is attracted towards what has been revealed through its own performative power. In this perspective it can be said that in the final liturgical dialogue through the Spouse there is actually an invocation of the parusia of the Lord. [ABSTRACT FROM AUTHOR]

The paper aims to show the extent to which the female protagonists of Isabella Santacroce’s novels are the realizations of the symbolic image of the fille fatale, present in the culture, literature and art of the twentieth century. The characters created by Isabella Santacroce seem to be eternally at the age of transition between the childhood and adulthood. Their beauty is irregular, disturbing, ambiguous and sometimes demonic. As well as the nymphs, last larval stage, they are fascinating, attractive and dangerous at the same time, as the harmless destructiveness is their main trait. Between the others versions of the twentieth-century fille fatale, the Santacroce’s female protagonists are definitely more libertine, what seems to be Tondelli’s heritage.

The movie content, which is more firmly established as the best popular art, is the main entertainment content that reflects the current trend based on the most common contents and consensus on the culture of the global community. However, since modern films are more sensitive to popular tastes that appeal to amusement and stimulating emotions, reduction of opportunities for intellectual pleasure through appreciation of artistic expressions is inevitable and unavoidable. In this paper, however, we try to analyze the symbolic meaning of the short in the film, to grasp the inner nature of the film projected in the film, and ultimately to express the theme message. Effective symbolism exposes emotions to create moods and moods, and to express deeply with the audience, expressing the inner psychological state and will of the person. By conveying the meaning behind the surface image to the audience unconsciously, it is possible to transmit the message intentionally more effectively and strongly. In addition, it can be expected to create effects such as an associative action or an increase in contrast energy on the screen through collision of irony and image in the expectant emotion composition of the audience. [ABSTRACT FROM AUTHOR]

Our primitive anthropological unconsciousness, together with images, determine our culture and our behaviors. For this reason, we can affirm that we do not think without images and they come long before a discourse. In other words, an image results in the presence of an absence, whether it is a representation or not. Because of this we now address the image from a symbolic perspective, passing through the three ages of looking, proposed by Debray (1993), and we support this with Belting (2010), with the aim of using this same logic to analyze, how the process of the sanctification of Mother Teresa of Calcutta arose, searching for remnants, within the history of the image, which will help us with this task. Lastly, we understand that Mother Teresa is today, therefore, represented in the era of idols, but in contact with a visual era and exhibited in an era of art. [ABSTRACT FROM AUTHOR]

A discrete dynamical system generated by a diffeomorphism f on a compact manifold is considered. The Morse spectrum is the limit set of Lyapunov exponents of periodic pseudotrajectories. It is proved that the Morse spectrum coincides with the set of averagings of the function ϕ(x, e) = ln| Df( x) e| over the invariant measures of the mapping induced by the differential Df on the projective bundle. [ABSTRACT FROM AUTHOR]

'Reconfiguration: Symbolic Image and Language Art' proposes an analytic and theoretical framework for computational aesthetic practices in terms of 'reconfiguration' and its derivatives, 'reconfigurationism' and 'reconfigurationist'. Digitization of the media of aesthetic practices has rendered these practices subject to software architectures derived from computational applications that, for the most part, have had little regard for aesthetics as such. The 'images' of contemporary aesthetic practices are often 'symbolic images' in the terms of the essay. They are co-produced by networked computation and digitized--symbolized--representations of media, all within new formations of ('Big') software architectures that are, typically, beyond the artists' generative, poetic control. Aesthetic practice is configured by software and digitalization. To bring art and aesthetics back into a generative relation with this potentially constrictive not to say totalizing situation, artists must reconfigure. This is an intervention that computation traditionally and productively allows, even in the era of Big Software. Reconfigurationism is demonstrated, specifically, in the field of language art and is also proposed as a poetics, characteristic of a wide range of contemporary aesthetic practice in all media where computation is at play. 'Reconfiguration' and 'reconfigurationism' distinguishes itself from theories of a 'New Aesthetic' and pretends a more insightful and critically generative analysis. The essay's 'symbolic image' bears a relation to Vilém Flusser's 'technical image' but has a clearer relation both to language and to computation, since Flusser's term is overweening with regard to (the end of the history of) language and overdetermined by its links to apparatus as opposed to the generalized abstractions of computation. [ABSTRACT FROM AUTHOR]

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The paper aims to show the extent to which the female protagonists of Isabella Santacroce's novels are the realizations of the symbolic image of the fille fatale, present in the culture, literature and art of the twentieth century. The characters created by Isabella Santacroce seem to be eternally at the age of transition between the childhood and adulthood. Their beauty is irregular, disturbing, ambiguous and sometimes demonic. As well as the nymphs, last larval stage, they are fascinating, attractive and dangerous at the same time, as the harmless destructiveness is their main trait. Between the others versions of the twentieth-century fille fatale, the Santacroce's female protagonists are definitely more libertine, what seems to be Tondelli's heritage. [ABSTRACT FROM AUTHOR]